Elephant: A Film By Gus Van Sant Review Winner of the Palme d'Or and Best Director prizes at the 2003 Cannes Film Festival, Gus Van Sant's (Good Will Hunting, Finding Forrester) Elephant takes us inside an American high school on one, single ordinary day that very rapidly turns tragic. Elephant demonstrates that high school life is a complex landscape where the vitality and beauty of young lives can shift from light to darkness with surreal speed. It's an ordinary high school day. Except that it's not. DVD Features: | |||||||
| Gus Van Sant's Last Days Review Elephant, the elegant and unsettling movie from Gus Van Sant (My Own Private Idaho, Good Will Hunting), depicts students at a high school before and during a harrowing, Columbine-style shooting. The movie follows one young boy who takes over the wheel from his drunken dad while returning from lunch, then loops back in time and follows another student who crosses paths with the first, then loops back and follows another--all captured in long, unedited tracking shots that are serene and unhurried, even when two boys in camouflage gear, carrying heavy bags, arrive at the school and begin shooting. Elephant doesn't attempt to explain their behavior; it simply places the audience back in the brief yet interminable window of adolescence, when life is trivial and painfully important at the same time. Your reaction to Elephant will depend as much on your life experiences as anything in the movie itself. --Bret Fetzer | |||||||
| Gerry Review An official selection in the 2005 Cannes Film festival, GUS VAN SANT'S LAST DAYS is inspired by the final hours of Kurt Cobain. The film introduces us to Blake (Michael Pitt, The Dreamers), a brilliant, but troubled musician. Success has left him in a lonely place, where livelihoods rest on his shoulders and old friends regularly tap him for money and favors. The film follows Blake through a handful of hours spent in and near his wooded home... a fugitive from his own life. DVD Features: | |||||||
| Paranoid Park Review Gus Van Sant's Last Days is a film about the death of Kurt Cobain. While the name of the main character has been changed from Kurt to Blake and the setting of the suicide changed from a greenhouse in Seattle to a greenhouse in upstate New York, there's no mistaking this film is the product of Van Sant's imagination pursuing the final, lonely moments of the great '90s icon. Rock biopic fans seeking a traditionally gratifying plot should run as fast as they can from this movie and see Rock Star or Sid and Nancy instead; Gus Van Sant's methodology is all about the slow, oppressive creep of time. One shot lingers excruciatingly long on some random foliage outside Blake's (Michael Pitt, The Dreamers) mansion. In another, he makes cereal. Then he sits on a bench for awhile. Or mumbles dialogue to a Yellow Pages ad salesman played by a real-life Yellow Pages ad salesman. Or gradually collapses while watching a Boyz 2 Men video. Meanwhile, Blake's parasitical hangers-on are slightly more animated, occupying his chilly house and clearly on their way to becoming as existentially destitute as he. Sonic Youth's Kim Gordon appears, pretty much reprising an interventionist role she must have played with the real-life Cobain, but this rock star is far beyond rescuing from the brink. Later, when Blake ventures into town to see a punk show, he is cornered by an acquaintance played by Harmony Korine, who tells him a hilarious story about playing Dungeons and Dragons with Jerry Garcia. Where the accumulation of small moments like these don't add up to much drama, they create a pervading sense of dread and sad inevitability. In his life, Cobain railed against all that was phony and hyped; by crafting a visual poem resolutely defiant of rock star spectacle, Van Sant honors the late singer as sincerely as he can, by keeping it real. --Ryan Boudinot | |||||||
| Julien Donkey-Boy Review From the groundbreaking director of Milk and Good Will Hunting, Gerry stars Matt Damon (The Adjustment Bureau) and Casey Affleck (Gone Baby Gone) in a suspenseful and highly provocative story of two men pushed to the limit. A pair of best friends (Affleck and Damon), who've nicknamed each other "Gerry," set out on a desert hike. But what begins as a simple daytime adventure turns into an intense life-and-death journey that will test the strength of human endurance and ultimately their friendship. Written by Damon, Affleck and director Gus Van Sant, this uncommonly compelling and starkly visualized film has earned the overwhelming praise of critics nationwide. | |||||||
| My Own Private Idaho (The Criterion Collection) Review In Gerry, two young men (Matt Damon and Casey Affleck) wander beautiful, barren, and surreal landscapes, gradually growing more and more lost. This film from Gus Van Sant (director of Drugstore Cowboy, My Own Private Idaho, and Good Will Hunting) has no story, hardly any dialogue, and even less in the way of "action" or "events." Yet the movie is by turns maddening and hypnotic; although few people will agree on which are the maddening scenes and which are the hypnotic ones, you will leave Gerry with one or more stunning images in your head. In fact, Gerry is probably more pleasurable to remember than it is to sit through. Committed performances, flashes of dark humor, and a smattering of visual effects give the movie some shape, but the more you just surrender to the emptiness of the landscape, the more rewarding Gerry will be. --Bret Fetzer | |||||||
| Paranoid Park Review An unsolved murder at Portland's infamous Paranoid Park brings detectives to a local high school, propelling a young skater into a moral dilemma where he must deal with the consequences of his own actions. As director of My Own Private Idaho, Good Will Hunting, To Die For and Elephant, Gus Van Sant has created some of the most memorable stories about youth ever committed to film. New York Press says Paranoid Park boasts "the coolest pop score since Pulp Fiction " and the film was shot by the acclaimed cinematographer Christopher Doyle (In the Mood for Love, The Quiet American). Paranoid Park also features a cast of hot newcomers including Gabe Nevins and "Gossip Girl's" Taylor Momsen. | |||||||
| Afterschool Review It's hard to believe that a middle-aged filmmaker can fully evoke the chaotic, anxious world of a troubled teenager, but that's what Gus Van Sant has done with Paranoid Park. Alex (newcomer Gabe Nevins), a teenaged boy whose parents are going through a difficult divorce, is drawn to the rough community that's built up around the titular skateboarding park in Portland, Ore. One night, when an older boy is showing him how to hop a freight train, Alex accidentally kills a security guard. The movie captures the before and after by looping back and forth in time, focusing far more closely on Alex's state of mind than the investigation that threatens to close around him. Filmgoers leery of the drawn-out, atmospheric sequences of Van Sant's recent films (like Gerry and Last Days) need not fear; though Paranoid Park favors mood over plot, it successfully balances character, mood, and story, resulting in considerable dramatic tension, similar to Van Sant's meditation on the Columbine shootings, Elephant. This is not a thriller; Paranoid Park pays as much attention to Alex's relationship with his girlfriend Jennifer (Taylor Momsen, Gossip Girl) as to the killing. The result is a vivid, compelling portrait of adolescence, in all its messiness and confusion. This may be Van Sant's best film since his early masterpieces, Drugstore Cowboy and My Own Private Idaho. --Bret Fetzer | |||||||
| The Mirror Review With its low budget and lush black-and-white imagery, Gus Van Sant's debut feature Mala Noche heralded an idiosyncratic, provocative new voice in American independent film. Set in Van Sant's hometown of Portland, Oregon, the film evokes a world of transient workers, dead-end day-shifters, and bars and seedy apartments bathed in a profound nighttime, as it follows a romantic deadbeat with a wayward crush on a handsome Mexican immigrant. Mala Noche was an important prelude to the New Queer Cinema of the nineties and is a fascinating time capsule from a time and place that continues to haunt its director's work. | |||||||
| The Flowers Of War Review The first thing that strikes you about Mala Noche is the raw, beautiful cinematography--a high-contrast black-and-white that captures the gutters of Portland, OR, like the setting of a long-lost film noir. Next, you'll be struck that the narrator, a convenience clerk named Walt (Tim Streeter), rhapsodizes about his love for a young Mexican hustler named Johnny (Doug Cooeyate) without guilt or fear--perhaps reflecting the rare occasion of a movie by an openly gay filmmaker (Gus Van Sant, making his feature film debut) based on an openly gay autobiographical story (by Portland poet Walt Curtis). Though the movie doesn't have much of a plot--basically, Walt alternately tries to woo Johnny and his friend Roberto Pepper (Ray Monge), gaining little more than a suspicious, combative friendship and some fervid but isolated sex--but the rough but engaging flavor of the storytelling gives the movie momentum and a rich charm. The Criterion edition features two splendid extras: First, a low-key, unpretentious interview with Van Sant (who notes that the movie had the spontaneous and low-tech spirit of the Dogme 95 movement, though made several years earlier); and a ramshackle, pugnacious documentary by Portland-born animator Bill Plympton (I Married a Strange Person!) about Walt Curtis, who proclaims himself a "jerk-off poet therapist." If there is a Portland aesthetic, this compilation captures it. --Bret Fetzer | |||||||
| The Usual Suspects Review Suzanne Stone (Nicole Kidman) has always dreamed of being on TV and she's dead-set on making that dream come true. But there is just one obstacle: Larry Maretto, her husband (Matt Dillon). So, Suzanne convinces a love-struck teenager (Joaquin Phoenix) to get Larry out of the way for good. | |||||||
| Contempt (Aka Le Mepris) Review If anyone ever doubts whether Nicole Kidman is a good actress, they should immediately be required to watch this outrageously wicked comedy from 1995, for which Kidman deservedly won a Golden Globe for Best Actress in a Leading Role. While director Gus Van Sant handles the fact-based satire with razor-sharp precision, Kidman delivers a deliciously devious performance as Suzanne Stone, a small-town New Hampshire housewife who fancies herself the next Barbara Walters, Jane Pauley, Diane Sawyer, and Maria Shriver all rolled up into one meticulously coiffed package. So determined is she to have a successful career on TV that she'll stop at nothing--even the calculated murder of her husband (Matt Dillon)--to get the attention she feels entitled to. To carry out her scheme she recruits some unwitting local teenagers including one boy (Joaquin Phoenix, matching Kidman's excellence) whose infatuation with Suzanne leads to sexual escapades and predictably troublesome consequences. It's a satirical comedy in Van Sant's capable hands, but it's so close to tabloid reality that the film never seems implausible--which only gives it a funnier, more blood-chilling quality of humor. Featuring Illeanna Douglas, George Segal, and Seinfeld alumnus Wayne Knight in memorable supporting roles, this is one of the best comedies of the '90s--especially if you prefer comedies with a decidedly darker edge. --Jeff Shannon | |||||||
| My Own Private Idaho Review River Phoenix and Keanu Reeves star in director Gus Van Sant’s haunting tale of two young street hustlers: Mike Waters, a sensitive narcoleptic who dreams of the mother who abandoned him, and Scott Favor, wayward son of the mayor of Portland and the object of Mike’s desire. Navigating a volatile world of junkies, thieves, and johns, Mike takes Scott on a quest from the grungy streets to the open highways of the Pacific Northwest, in search of an elusive place called "home." Groundbreaking and visually dazzling, My Own Private Idaho is a stirring look at unrequited love and life at society’s margins. | |||||||
| Dogfight Review Mapping the spaces between fortune and degeneracy, Shakespeare and street cant, Europe and the Pacific Northwest, and gay and straight, My Own Private Idaho is the 1991 masterpiece by director Gus Van Sant. River Phoenix gave the most generous and memory-searing performance of his tragically shortened career as Mike Waters, a narcoleptic street hustler in search of his mother. His best friend, Scott, played by Keanu Reeves, is a son of privilege who fosters plans of rejoining the moneyed world of his father after gallivanting with assorted urchins and ne'er-do-wells. The beautifully symmetrical story that emerges between the two is one of friendship, yearning for lost time, and sexual identity conveyed with a poet's eye for landscape. The camera lingers on abandoned houses in golden fields and time-lapse clouds, providing what T.S. Eliot called "the objective correlative"--external representations of interior emotional states. We're treated to striking iconic sequences like a barn falling from the sky and still-life scenes of carnal entanglement. The supporting cast is a rogues' gallery that includes Flea of the Red Hot Chili Peppers, Udo Kier, director William Richert, and a variety of "nonactors" pulled literally off the street to provide documentary veracity to a film that gleefully careens into riffs on Henry IV. It's beautiful. What's also beautiful is the Criterion Collection's treatment of the film's DVD debut. The director-approved transfer successfully conveys the warmth of the film's palette of oranges and browns, and preserves the whimsical atmospherics of the yodeling country music soundtrack. Many members of the original crew contribute their fond memories to the documentary features, which include a conversation between Phoenix's sister Rain and producer Laurie Parker. There are also two lengthy audio-only conversations--one between Van Sant and Velvet Goldmine director Todd Haynes, and another between author J.T. Leroy and filmmaker Jonathan Caouette about their experiences on the street. The deleted scenes mostly suggest alternate endings that Van Sant wisely left on the cutting room floor. A superb example of a beloved film on DVD. --Ryan Boudinot
Stills from My Own Private Idaho (click for larger image)
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| Running on Empty (1988) Review Winner of the Palme d'Or and Best Director prizes at the 2003 Cannes Film Festival, Gus Van Sant's (Good Will Hunting, Finding Forrester) Elephant takes us inside an American high school on one, single ordinary day that very rapidly turns tragic. Elephant demonstrates that high school life is a complex landscape where the vitality and beauty of young lives can shift from light to darkness with surreal speed. It's an ordinary high school day. Except that it's not. DVD Features: | |||||||
| Cloud Atlas Review Elephant, the elegant and unsettling movie from Gus Van Sant (My Own Private Idaho, Good Will Hunting), depicts students at a high school before and during a harrowing, Columbine-style shooting. The movie follows one young boy who takes over the wheel from his drunken dad while returning from lunch, then loops back in time and follows another student who crosses paths with the first, then loops back and follows another--all captured in long, unedited tracking shots that are serene and unhurried, even when two boys in camouflage gear, carrying heavy bags, arrive at the school and begin shooting. Elephant doesn't attempt to explain their behavior; it simply places the audience back in the brief yet interminable window of adolescence, when life is trivial and painfully important at the same time. Your reaction to Elephant will depend as much on your life experiences as anything in the movie itself. --Bret Fetzer | |||||||
| The Thing Called Love Review An official selection in the 2005 Cannes Film festival, GUS VAN SANT'S LAST DAYS is inspired by the final hours of Kurt Cobain. The film introduces us to Blake (Michael Pitt, The Dreamers), a brilliant, but troubled musician. Success has left him in a lonely place, where livelihoods rest on his shoulders and old friends regularly tap him for money and favors. The film follows Blake through a handful of hours spent in and near his wooded home... a fugitive from his own life. DVD Features: | |||||||
| The Master Review Gus Van Sant's Last Days is a film about the death of Kurt Cobain. While the name of the main character has been changed from Kurt to Blake and the setting of the suicide changed from a greenhouse in Seattle to a greenhouse in upstate New York, there's no mistaking this film is the product of Van Sant's imagination pursuing the final, lonely moments of the great '90s icon. Rock biopic fans seeking a traditionally gratifying plot should run as fast as they can from this movie and see Rock Star or Sid and Nancy instead; Gus Van Sant's methodology is all about the slow, oppressive creep of time. One shot lingers excruciatingly long on some random foliage outside Blake's (Michael Pitt, The Dreamers) mansion. In another, he makes cereal. Then he sits on a bench for awhile. Or mumbles dialogue to a Yellow Pages ad salesman played by a real-life Yellow Pages ad salesman. Or gradually collapses while watching a Boyz 2 Men video. Meanwhile, Blake's parasitical hangers-on are slightly more animated, occupying his chilly house and clearly on their way to becoming as existentially destitute as he. Sonic Youth's Kim Gordon appears, pretty much reprising an interventionist role she must have played with the real-life Cobain, but this rock star is far beyond rescuing from the brink. Later, when Blake ventures into town to see a punk show, he is cornered by an acquaintance played by Harmony Korine, who tells him a hilarious story about playing Dungeons and Dragons with Jerry Garcia. Where the accumulation of small moments like these don't add up to much drama, they create a pervading sense of dread and sad inevitability. In his life, Cobain railed against all that was phony and hyped; by crafting a visual poem resolutely defiant of rock star spectacle, Van Sant honors the late singer as sincerely as he can, by keeping it real. --Ryan Boudinot | |||||||
| Gus Van Sant's Last Days Review From the groundbreaking director of Milk and Good Will Hunting, Gerry stars Matt Damon (The Adjustment Bureau) and Casey Affleck (Gone Baby Gone) in a suspenseful and highly provocative story of two men pushed to the limit. A pair of best friends (Affleck and Damon), who've nicknamed each other "Gerry," set out on a desert hike. But what begins as a simple daytime adventure turns into an intense life-and-death journey that will test the strength of human endurance and ultimately their friendship. Written by Damon, Affleck and director Gus Van Sant, this uncommonly compelling and starkly visualized film has earned the overwhelming praise of critics nationwide. | |||||||
| Elephant: A Film By Gus Van Sant Review In Gerry, two young men (Matt Damon and Casey Affleck) wander beautiful, barren, and surreal landscapes, gradually growing more and more lost. This film from Gus Van Sant (director of Drugstore Cowboy, My Own Private Idaho, and Good Will Hunting) has no story, hardly any dialogue, and even less in the way of "action" or "events." Yet the movie is by turns maddening and hypnotic; although few people will agree on which are the maddening scenes and which are the hypnotic ones, you will leave Gerry with one or more stunning images in your head. In fact, Gerry is probably more pleasurable to remember than it is to sit through. Committed performances, flashes of dark humor, and a smattering of visual effects give the movie some shape, but the more you just surrender to the emptiness of the landscape, the more rewarding Gerry will be. --Bret Fetzer | |||||||
